Icon Painting in Progress with Paintbrush

A New Chapter: Beginning My Iconography Studies at The King’s Foundation School of Traditional Arts

I’m thrilled to share some truly exciting news with you all — a few weeks ago I found out that I have been accepted onto the three-year Icon Painting course at The King’s Foundation School of Traditional Arts in London, one of 12 students, I believe, selected this year. This is a major milestone in my journey as an artist and iconographer, and I’m incredibly grateful, humbled, and eager to begin this next phase of deep study and spiritual craftsmanship.

Taught by the world-renowned iconographer Aidan Hart, this course is a rare opportunity to learn the strong foundations of the sacred art of icon painting in a setting that upholds both the richness of tradition and the beauty of disciplined, contemporary practice.

A Master of Living Tradition

For those of you familiar with the world of iconography, Aidan Hart likely needs no introduction. His incredible work bridges the ancient and the contemporary, drawing from the Orthodox tradition while breathing into it the depth of someone who truly lives the liturgical and theological meaning of his craft. Aidan’s icons and frescos grace churches, monasteries and private collections across the world, and his approach to teaching reflects not only a mastery of technique but a deep reverence for the spiritual heart of the icon.

To have the chance to study under his guidance over a period is something I never imagined would become a reality — and yet, here it is. From the very first moment I learned of the program 2 years ago, I knew I had to apply. The selection process was rigorous: it involved submitting a detailed portfolio, a written application statement, and an interview. Even that process, though nerve-wracking at times, helped me clarify my own sense of purpose and vocation as an artist and iconographer. Being chosen among such a small, talented group of fellow students is an honour I do not take lightly.

The King’s Foundation and the School of Traditional Arts

The course is hosted by The King’s Foundation School of Traditional Arts, a unique institution founded by King Charles III (then HRH The Prince of Wales) in 2004. The school was born out of his vision to preserve and promote the world’s traditional arts and crafts — practices that reflect harmony, beauty, and a deep sense of the sacred.

Rooted in the principles of perennial philosophy, the school doesn’t simply teach craft in a technical sense. It explores how art, geometry, symbolism, and beauty can reflect eternal truths — a perfect setting for anyone committed to the sacred arts.

The school has trained artists, craftspeople, and designers from around the world, helping to keep endangered traditions alive while inspiring new expressions that remain rooted in timeless principles. With students and alumni working in disciplines ranging from Islamic illumination to Gothic stained glass, it's a place where traditional art is not locked away in a museum but alive, dynamic, and evolving.

It’s a privilege to be joining this living tradition through the icon painting course. The program includes not only practical instruction in painting techniques — including egg tempera, gilding, and natural pigment preparation — but also theological and liturgical foundations. We’ll study the meaning behind the iconographic forms, the role of prayer and silence in the artistic process, and how the making of icons is itself a form of devotion.

A Time of Growth, Practice, and Prayer

As many of you know, iconography is more than just an artistic discipline. It is, at its heart, a sacred vocation — one that involves the mind, the hands, and the heart. It is prayer in pigment, theology in line and light. And while I’ve been studying orthodox iconography for some time now, this opportunity offers me the space and support to go deeper: in technique, in understanding, and in spiritual formation.

I expect this course to be both demanding and deeply enriching. There’s something profoundly humbling about iconography - lifetime couldn’t be enough to learn this craft and it has one perpetually in the posture of a student. Over the three years, I hope not only to grow in skill, but to become ever more attuned to the spiritual discipline of icon painting, its history, and its place in the life of the Church today.

What This Means for Rhead Icons

You may be wondering: what does this mean for my project here at Rhead Icons?

I expect the learning and insights from this Icon Painting course to enrich every aspect of my current art and icon painting practice. My long-term goal has always been to serve the Church and her people through faithful, beautiful icons that speak with clarity and grace. This course is an investment in that goal — and in the long tradition of sacred Christian art that I’m blessed to be part of.

In the coming months and years, I plan to be sharing reflections from my time at the School, insights into the techniques and theology we’re studying, and glimpses into works-in-progress as I balance student life with other aspects of life and work. I hope these updates will offer something valuable to those of you interested in the process of icon painting, as well as the spiritual and liturgical role that icons play in Christian life.

Gratitude and Anticipation

I want to extend my deepest thanks to all of you who have supported my journey thus far — through your kind words, your teachings, your inspiration, your support and your shared love of iconography and Byzantine art. This opportunity would not be possible without that foundation of support and encouragement.

There are some people I must thank especially. My wonderful teacher, mentor and friend, Fr Justin Venn of Studio Sanctus, whose teaching and encouragement has been revolutionary in my life and helped me go from very rudimentary line drawing in 2023 to having a good enough portfolio of painted work to making a successful application to the King’s Foundation School of Traditional Arts  2 years later. My beautiful partner, Simon, also an artist, whose unwavering love, encouragement and support has helped me grow and flourish as a person and an artist. Sadly, my Love, Simon, died in April of this year at the age of 58 after a long and challenging journey with cancer. Blessed to care for him at home during his terminal illness, I painted for my portfolio as he slept and rested. Simon lived to see me make my application, but not my acceptance. Simon, I am so proud of you, my Darling Love, that there will never be a brush stroke that I paint for the rest of my days that you won’t be a part of.  Without loving and being loved by you, this journey would not be happening. Last but by no means least, to my son, family and my beautiful friends who have supported me unwaveringly in the pursuit of my heart's calling, I love you all.    

As I prepare to begin this new chapter, I do so with gratitude, excitement, and a renewed sense of calling. Iconography is a lifelong path — a journey of craftsmanship, of prayer, and of service. I’m honoured to be walking that path now with the guidance of the King’s Foundation, the course teaching of Aidan Hart, and the fellowship of a small cohort of fellow artists and student icon painters who I am yet to meet.

Please keep me in your prayers as I begin this time of study and transformation. And stay tuned — the journey ahead is one I look forward to sharing with you.

With thanks and peace,

Emma

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